Curatorial Essay

40th New Prints Show!
New Prints 2011/Autumn
November 4, 2011 - January 7, 2012
I N T E R N AT I O N A L P R I N T C E N T E R N E W Y O R K
508 West 26th Street, Rm. 5A, New York, NY 10001 • 212-989-5090 • www.ipcny.org
New Prints 2011/Autumn
On View at IPCNY November 4, 2011 – January 7, 2012
Touring to The University of Texas at Austin, Visual Arts Center
January 27 - March 10, 2012
Selected by:
Anders Bergstrom, Artist
Beth Finch, Lunder Curator of American Art, Colby College Museum of Art
Christopher Gaillard, President, Gurr Johns, Inc.
Sarah Kirk Hanley, Independent Print Curator and Specialist Appraiser
Diana Wege Sherogan, Artist and Collector
Bruce Wankel, Master Printer, Universal Limited Art Editions
Artists’ List:
Norman Ackroyd, Erika Adams, Golnar Adili, Polly
Apfelbaum, Rosaire Appel, Miguel A. Aragón, Isabelle
Ayotte, Trevor Banthorpe, Curtis Bartone, Jarrod Beck,
Grace Bentley-Scheck, Marcin Bialas, Shawn Bitters,
Nicholas Brown, Rachael Browning, Susan Goethel
Campbell, Alejandro Chen Li, Elaine Chow, Matthew
Colaizzo, Terry Conrad, Erin Diebboll, Marie Yoho
Dorsey, Odette England, Rick Finn, Yuko Fukuzumi,
Isabel Gouveia, Libby Hague, Takuji Hamanaka, John
Himmelfarb, Charles Hinman, Gary Justis, Alex Katz, Jane
Kent, William Kentridge, Anne LaFond, Sharon Levy,
Michael Loderstedt, Whitfield Lovell, So Yoon Lym, S.V.
Medaris, Michael Neff, Serena Perrone, Ian Ruffino, Ed
Ruscha, Soledad Salamé, Bob Shore, Joan Snyder, Preeti
Sood, Jessica Stockholder, Tomi Um, and Pete Williams.
Left: Rosaire Appel, Enigma, 2011, Digital print.
Curatorial Essay
By Sarah Kirk Hanley
The most fascinating – and simultaneously daunting – aspect of printmaking is
its diversity. Printmaking has been a means of expression for hundreds of years, and
myriad techniques have evolved over time to fit the changing needs of artists. As
the twenty-first century unfolds, artists are working in a dizzying array of approaches.
The New Prints Program at International Print Center New York – now in its second
decade – is unique in its effort to document the full range of this activity as it develops.
For each exhibition, entries are solicited from artists around the world, and a panel
of jurists selects the strongest examples from this pool to represent a cross-section of
the varied nature of printmaking activity today. Artists whose work attracts a wide
following – in this case, Ed Ruscha, William Kentridge, Alex Katz, Polly Apfelbaum,
Jessica Stockholder, John Himmelfarb, Whitfield Lovell, Charles Hinman, Jane Kent,
Norman Ackroyd and Joan Snyder – are shown alongside emerging artists and those
who have established a strong reputation in regional, academic, or professional circles.
In the eyes of the jurists, each of these works merits consideration on its own terms.
For some artists, printmaking is a primary means of expression, but most see printmaking as an alternative medium that complements their work in other formats. Whether
a preferred medium or a secondary one, most artists create their prints with a timehonored process: a concept is developed and then composed on one or more matrices
using one or more categories of printmaking (intaglio, relief, lithography, screenprinting, digital) and the techniques that best suit their intention – the final result is editioned in the number of impressions they determine, on a paper of their choosing.
Some play with techniques or materials to tease out new
effects within these parameters, while others invent
entirely new approaches. Still others use printmaking
as a foundation through which to express themselves in a
three-dimensional format – with books, installations, or
sculptures. In any of these endeavors, an artist might
collaborate with a master printer in an established workshop that provides support and sophisticated technologies, or simply work from a private studio to produce
editions or unique works on his or her own.
Top: Michael Neff, Tangerine Gift Box, 2010, Screenprint. Bottom: Erika Adams, It Doesn’t Really Matter What They Say,
2011, Lithograph with chine collé.
The prints on view in New Prints 2011/Autumn represent a wide range of topics that
major contemporary artists are exploring – from the portraiture of Alex Katz, to the
socially-grounded works of Whitfield Lovell and William Kentridge (who here explores
the artistic process), to the abstract and formal expressions of Polly Apfelbaum, Joan
Snyder, Jessica Stockholder, and Charles Hinman. In the same way, many emerging
artists are drawn to the expressive possibilities of traditional printmaking and bring
fresh ideas and/or approaches to the medium. Pete Williams and So Yoon Lym have
used lithography and etching respectively to convey their interest in socio-political
issues; Williams’ From the Banks of the Chongqing 1 symbolically expresses the recent
radical changes to the Chinese landscape in its transformation to a major economic
power, while Lym’s James: Solar Etched is part of her ongoing exploration of plaited
hair-styles as a marker of identity. Isabel Gouveia’s unique intaglio works, which
combine cut-out elements in a puzzle-like fashion, demonstrate a fresh approach
to formal abstraction. The return of the narrative – a powerful undercurrent in
contemporary art – is found in the work of Erika Adams, Michael Neff, Curtis Bartone,
Sharon Levy, and Alejandro Chen Li, who juxtapose compositional elements in
unexpected ways to elicit humor, surrealism, or revulsion. Personal narrative is
the subject of Odette England’s series Without Me, in which she takes a digitallyprinted photograph from her family album and physically cuts herself out of the
image. In a similar vein, Matthew Colaizzo’s and Serena Perrone’s seemingly straightforward landscapes become increasingly macabre as the viewer engages more deeply
with the imagery to uncover a hidden story.
A handful of artists in this exhibition have pushed traditional techniques beyond
their customary use to generate innovative effects. Ed Ruscha has transformed his
now iconic Standard station image – which he first editioned in the mid-1960s in
screenprints of varying color combinations – into an albinic version of itself, cleverly
titled Ghost Station. The print was created with the Mixografía® process, developed
in the early 1970s, which involves pressing paper pulp into a three-dimensional relief
mould that is customarily inked in advance – when the paper is removed, it takes on
the form of the mould as well as the colors that were applied to it. Ruscha’s unprecedented choice to leave the mould un-inked results in a print that is both visually and
conceptually elegant. Likewise, Susan Goethel Campbell, Trevor Banthorpe, Grace
Bentley-Scheck, Erin Diebboll, and Bob Shore have played with both traditional and
newer techniques to create effects that transport their landscape imagery into the
sublime. Yuko Fukuzumi and Gary Justis likewise achieve technical and perceptual
sleight-of-hand in their abstracted images.
The exhibition also includes several prints that demonstrate new and experimental
approaches. Rosaire Appel and Soledad Salamé have worked in a purely digital aesthetic
that could not have existed prior to the invention of the personal computer – this is
a development that will likely become more prevalent as artists learn to fully exploit
the possibilities of working entirely within the parameters of technology. Ian Ruffino’s
unique process (explained in full detail on his website) involves either layering, punching, and/or piercing prints – sometimes he adds hand-additions or sews them with
bookbinding thread. Rachael Browning’s Ledger series uses common office materials and
techniques to create otherworldly abstractions. Marie Yoho Dorsey’s Starry Night –
an intaglio print on gampi paper embellished with Japanese-style embroidery – brings
together dichotomies of high- and low-brow materials and East/West techniques
and ideas.
Preeti Sood and Miguel Aragón – who are immigrants to Great Britain and the U.S.,
respectively – use the relatively new technology of laser engraving to comment on the
cultures in which they were raised, using found imagery from their native homes as
source material. Sood’s Patriarchy shows an exterior wall plastered with gridded posters
containing cookie-cutter portraits of adult Indian males –details have been selectively
removed to suggest the anonymity of power as well as the losses experienced by those
who have none. Aragón’s sophisticated and entirely innovative approach begins with
photographs of drug-cartel violence from the newspaper in his native Ciudad Juárez
(or Juárez), which is situated directly opposite El Paso near the border of Texas and
Mexico and has one of the world’s highest rates of violent crime. Aragón laserengraves the newspaper photos of “incomprehensible violence” (artist’s statement) to
four-ply chipboard at varying depths. In the process, the board is burned. Aragón
then removes certain areas of the matrix with a drypoint needle to add texture. He
then takes a unique intaglio impression from the charred residue, which serves as the
“ink.” The resulting image – which appears almost abstract at first – slowly coalesces
into a whole. The prints have a liminal, otherworldly, and haunting quality that echoes
the imperfection of memory and perception, while the embossed terrain implies the
physicality and permanence of the crime. Aragón’s burned images directly correlate
to the damage they have imposed on the citizens of Juárez, which have been likewise
burned into the collective memory.
Opposite page: Polly Apfelbaum, Love Alley Black, 2010, Woodblock. This page: Left: Isabel Gouveia, Composition #11,
2011, Aquatint, drypoint, soft ground, plastic collage. Right: Preeti Sood, Patriarchy, 2011, Laser engraving and etching
on enhanced matte paper.
A handful of works in the exhibition demonstrate a technical proficiency and attention
to detail that dazzles. Norman Ackroyd’s sublime aquatint landscapes, Marcin Bialas’
haunting etchings of architectural spaces, Nicolas Brown’s highly detailed linocut
landscapes, Rick Finn’s intricate reduction woodcuts, and Takuji Hamanaka’s ethereal
woodblock prints of textile designs all demonstrate fascinating and subtle effects. All
of these artists fully exploit the possibilities of their chosen techniques.
Artists’ books and multiples, which are created to be interacted with and handled, are
represented here in a number of works that are clever, contemplative, or political in
nature. How to display book objects is an eternal dilemma for galleries and museums
– it is difficult to protect them from damage while also allowing visitors to experience
them as the artists intended. Jane Kent, who has worked in the book format for
several decades, anticipated this problem in Skating, which can be either displayed on
a wall or enjoyed in sequence as individual sheets. The work is both meditative and
clever, and its content is paired ingeniously to the book’s form (for an in-depth
discussion of this book, see Susan Tallman, “Jane Kent and Richard Ford Go Skating”
in Art in Print I, no. 2 [ July-August 2011]: 16-20). Two works by Michael Loderstedt
demonstrate his divergent interests: Ghost Couture is an inventive and witty piece of
paper engineering, while the Queen of Amsterdam metaphorically considers our “fragile
stewardship of the natural world” (artist’s statement online). Tomi Um’s Little Opera
cleverly uses the accordion-fold format both as a means of developing a narrative and
augmenting the graphic impact of the imagery. Terry Conrad’s carefully designed
Manipulatives is a series of abstract bendable objects of the artist’s creation that are
housed in a box that serves as both container and means of display.
On a more serious note, books serve as a format for socio-political expression in Susan
Goethel Cambell’s Dirty Pictures: Portraits of Air, Vol. 1 and Anne LaFond’s Advance.
Campbell’s piece documents a project in which the artist asked participants throughout the world to install air filters of uniform size in “a place of their choosing so it
could pick up particulates in the atmosphere” (artist’s website). LaFond’s expressionistic
etchings respond to the recent uprising in Egypt. On the more meditative end of the
scale, Elaine Chow’s Year of Oxalis 1 recalls the elegant packaging of Japanese retailers
of the past – a lost art that she memorializes here. Isabelle Ayotte’s Là où je ne suis pas
(There Where I am Not) is a sophisticated pairing of words and imagery. The book is
Top: Tomi Um, Little Opera (one side open), 2011, Screenprinted accordian book. Bottom: Anne LaFond, Advance,
2011, Hinged book containing a series of etchings with aquatint.
quiet, minimal, and poetic, evoking a mysterious sense of loss. The first spread reads,
“pour ajouter à l’hiver j’ai ferme les volets / j’ai menti” (to augment winter I closed
the shutters / I lied); second spread: “je ne sais pas s’il faul rompre le fil ou le tisser” (I
didn’t realize that I must break the cord or weave it); third spread “le sol s’effondre”
(the sun collapsed); final spread “je n’ai pas bougé pendant mon absence” (I did not
leave during my absence).
Prints and printmaking materials have been put to use for sculptural ends by several
artists in the exhibition. In Blue Motive, John Himmelfarb covered a wooden frame
with relief prints in his signature blocky geometric style, to playful effect. S.V. Medaris
also surfaced a wooden form with a printed image in Carcasses (from The Meat Locker
series) – the work is potent in scale and graphic impact. Jerrod Beck’s unique approach
sidesteps adhesion of a print to another form; instead, he recycles intaglio plates as
moulds for a plaster-cast form – in effect, fusing the process into one step.
Print-based installation, which is sometimes called “printstallation,” is an exciting new
direction for the medium that has become increasingly prevalent in recent years. In
this format, artists use printed materials as building-blocks to create sculptural or installation works. This approach allows artists to extend printmaking to a scale that is not
limited by the size of the matrix or the printing press, allowing for fresh avenues
of expression and conceptual exploration. Golnar Adili’s Pink Letter, Shawn Bitters’
Nature Shadows Him, and Libby Hague’s My One and Only Life So Far represent some
of the directions this nascent format has taken.
The variety and scope of the works in this exhibition demonstrate the vitality and
range of printmaking in contemporary art. Whether artists are drawn to the medium’s
unique aesthetic properties, its versatility, or its reproducibility (or all of these qualities),
they continue to push the boundaries and reinvent the medium for a new generation.
As the New Prints Program at IPCNY moves forward, followers can look forward to
a brilliant chronicle of work by some of the most talented artists of the day who find
inspiration in this chameleonic and sophisticated medium.
Sarak Kirk Hanley
October 2011
Left: Terry Conrad, Manipulatives, 2011, Woodblock, silkscreen, plastic, paper, and wood. Right: John Himmelfarb,
Blue Motive, 2011, Woodblock on Stonehenge mounted to blocks of wood.
Front cover: Sharon Levy, Blinds: Fire, 2010, Linoleum cut and watercolor. Back Cover: Left: Soledad Salamé, Gulf
Distortions XII, 2011, Silkscreen on Mylar with interference pigments. Right: Susan Goethel Campbell, Aerial #15,
2011, Relief print with perforations.
International Print Center New York is a non-profit institution dedicated
to the appreciation and understanding of the fine art print. Through
exhibitions, information services and public programs, IPCNY contributes
to the expansion of audiences for the visual arts. Since the inauguration of
the New Prints Program in 2000, works by nearly 1,450 artists and 200 presses have been brought to public
attention in a series of seasonal exhibitions in IPCNY’s Chelsea gallery. A touring program expands the reach
of these shows to regional audiences nationwide. New Prints 2011/Autumn, the fortieth presentation of the
New Prints Program, exhibits an exceptional group of sixty-seven works by fifty-one emerging to established
artists selected from some 2,500 submissions all made within the past twelve months. With rare exception,
all prints are available for sale. Interested buyers should fill out a print purchase form at IPCNY or contact the
source listed on the checklist.
New Prints 2011/Autumn will tour to the Visual Arts Center at The University of Texas/Austin from January
27 through March 10, 2012 as part of the Print Convergence program, initiated at the University in 2010. All
New Prints exhibitions, along with other selected IPCNY shows are available for touring through IPCNY’s
Exhibitions Touring Program. For more information, please contact IPCNY’s Exhibitions Administrator, Julia
Lillie, at Julia@ipcny.org.
The New Prints Program is funded in part with public funds from the National Endowment for the Arts, the New
York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature,
and the New York City Department of Cultural Affairs. A grant from the Robert Lehman Foundation supports
IPCNY’s exhibitions programming. New Prints brochure funding has been generously provided by The Gladys
Krieble Delmas Foundation. Sponsors of the 2011/12 Season are: Milton & Sally Avery Arts Foundation, the
Deborah Loeb Brice Foundation, The Consulate General of Finland, FRAME Finnish Fund for Art Exchange,
The Horace W. Goldsmith Foundation, Hess Foundation, The Jockey Hollow Foundation, Charles Stewart Mott
Foundation, PECO Foundation, Thompson Family Foundation and numerous individual donors.
IPCNY depends upon public and private donations to support its programs. To become a member, or for
further information, please call (212)989-5090, email Stephanie@ipcny.org, or visit www.ipcny.org
Gallery Hours: Tuesday-Saturday, 11-6. Special Print Week hours: Sunday, November 6, 11-6.
TRUSTEES
Joseph Goddu, Chairman
Janice Oresman, Chairman Emerita
John Morning, Founding Chairman
Leslie J. Garfield, Vice Chairman
Judith K. Brodsky
Anne Coffin
Thomas C. Danziger, Esq., Counsel
Jack Enders
Christopher Gaillard
Ronald S. Gross
Kimball Higgs
Leonard Lehrer
© 2011 International Print Center New York
Thomas W. Lollar
Katie Michel
Robert E. Monk
Amy Baker Sandback
Harris T. Schrank
Barbara Stern Shapiro
Diana Wege Sherogan
Pari Stave
LuRaye Tate
Wendy Weitman
Maud Welles
Deborah Wye